THE FIRST GREAT TRAIN ROBBERY

UK, 1978, 108 Minutes, Colour.
Sean Connery, Donald Sutherland, Lesley- Anne Down, Alan Webb.
Directed by Michael Crichton.

The robbery genre is far from defunct - what about the British tradition of last century? History, nostalgia, the genteel Victorian touch? Highly entertaining and its technical qualities some of the best for a long time, the film looks, sounds and moves elegantly with const-ant delight in costumes, decor and period Britain in fine detail. Sean Connery is excellent with charming roguery and Donald Sutherland returns to one of his oddball offbeat roles. Well known for U.S. science fiction, writer/director Michael Crichton adapts his own novel here with gusto and finesse. The preparations for the robbery are as good as any of their kind - but the period atmosphere, sick satire on Victoriana, are a great bonus.

1. The quality of the entertainment - subject, theme, treatment and style?

2. The background of the robbery genre? The title, the reference to 20th century train robberies? The importance of the comparisons of the past with the present and vice-versa? The various conventions of the genre and the way that these were used - humorously, seriously?

3. The film's emphasis on the British tradition? Britain in the 19th century, involvement in the Crimean War, politics? London and its various social strata? The introduction of trains in the 19th century and interest in them, their capacities? The challenge of a train robbery in the 19th century?

4. Chubbs and its reputation for safes and locks? Politicians, the police? Upper class society, criminal society?

5. The visual presentation of the 19th century? The importance of colour, decor, costumes? The film's attention to detail and the re-creation of the period? The contribution of the score and its rousing atmosphere? The presentation of 19th century trains, stations? Police work, the men's clubs and their discussions, elegant homes, sport with the fighting of rats etc.? The 19th century fashionable London brothel? Newgate? The slums, the work of the pickpockets? Funerals and funeral customs? Courts of justice? The screenplay's snide attitude towards the Victorian era? For example, men and their place, the vote, upper-class vices and morals, the place of women, the administration of justice, hypocrisy? Subtlety and lack of subtlety?

6. Where did audience sympathies lie? In fact as regards criminals robbing a train, the Crimean gold? Sympathies for the personality presented on the screen? How well did we get to know the protagonists, admire them? The presentation of their motives? Challenge, greed?


7. The introduction of violence and murder and its repercussions on audience attitude? Admiration of skill? The carrying out of the robbery and the split-second timing, dangers? The crowds and their response to the hero? Official justice? Where did audiences stand on the amoral background of the protagonists and their attitudes? Their getting away at the end? The importance eof the first attempt and the death of the robber - the reality of the difficulties in committing such robberies? Sean Connery present and observing?

8. The comments made on this robbery and the seeming impossibility of a great train robbery? How well was the challenge presented - the background of the Crimean war, trains, the gold? Their decision about the job, the careful planning? The people involved in transporting the gold - the discussion at the club and Connery getting all the information? The background in which he moved and had his information available?

9. Donald Sutherland as an eccentric London criminal? Seeing him first in the London streets and the pickpockets in action, the consultation by Connery and his involvement? The broad and humorous portrayal of the criminal? His skill, with locks? The later presentation of the ugly criminal world in London - the woman with the husband in Newgate, the scenes in Newgate itself? The betrayal and the murder? The uglier side of London in the 19th century?

10. The screenplay's skill in keeping audience interest in the gaining of the keys? The story of the infiltration into the upper-class home? The wife and her ambiguous sexuality? The plain daughter and her falling in love? The visit to the homes, the outings and their elegance, the approaches of the wife and the humour of the innuendo in the dialogue? The master of the home and his attitudes? Discovering his vice and the fighting of the rats, the gambling? The detecting of the key in the cellar, the scenes in getting the key and the potential danger,- mother and daughter at the piano? The story of getting the key from the man who had it around his neck? The Victorian attitude towards sexuality? The setting up of the brothel? The detail, the getting of the key and the pretended raid? Humour, satire?

11. The difficulties of the third key - the watching of the station, the timing of the behaviour of the guard, releasing the helper from Newgate, the boy and the set-up for the chase into the office, the getting of the key and the suspense of the timing? The success of getting the three keys?

12. What had the audience learnt about Sean Connery's character? As a person, his place in society, manners and morals? His relationship with the heroine? Her background, morals? Their-love for each other, working together, complementing one another? The contrast with the character sketch of Sutherland?

13. The ugly tone in the chase of the criminal, his betraying his accomplices, the Inspector and his identifying Connery, the killing of the betrayer? How did this alter the tone of audience sympathy?

14. The preparations for the robbery, the police and the greater stringency? The challenge and not giving up?

15. How entertaining was the whole robbery sequence? The guards at the station, the coffin set-up, the mourning sister, the dead cat, Sutherland in the coffin and cholera? Connery and his plan in the train? Climbing across the roof of the train, the tunnels, the dangers, the suspense? The being lowered down, the transfer of the gold? The girl and the attentions of the woman-chasing official? The timing and the finale? The irony of the torn coat and the change of clothing giving him away?

16. The court sequence and the defence, the condemnation of the judge? The ironies in the administration of justice? The crowds and acclaiming the robbers as heroes? The humour of the final kiss and the key for the handcuffs at the end?

17. An entertaining robbery story, the light touch with the mocking tone and the importance of the Victoriana - successful combination?